25 mayo 2010



Olesia Novikova was born in St Petersburg. She graduated from the Vaganova Academy of Russian Ballet (class of Marina Vasilieva) and joined the Mariinsky Theatre in 2002.

Repertoire includes:
Giselle (Giselle), The Sleeping Beauty (Aurora, Silver Fairy, Gold Fairy, Fleur de Farine) Sergeyev's version and the revival of the 1890 production, La Bayadere (variation in the Kingdom of Shadows scene), Raymonda (variation), Don Quixote (Street Dancer, Kitri, Variation from IV act), The Fountain of Bakhchisarai (Young women, Maria), Swan Lake (Little Swan), Chemiakin's The Nutcracker choreography by Kirill Simonov (Masha), Le Corsaire (Gulnara), Fokine's Chopiniana (Nocturne, Eleventh waltz), Ratmansky's Middle Duet, George Balanchine's Jewels (Emeralds, Diamonds), The Four Temperaments, Ballet Imperial, Forsythe's The Vertiginous Thrill of Exactitude and In the Middle, Somewhat Elevated.

Prize-winner at the International Ballet Competition Vaganova-prix (St Petersburg, 2002)

22 mayo 2010



Marina Kondratieva was born in Leningrad in 1934. She graduated from the Bolshoi Ballet School in 1952. Elegant, lyrical and technically impeccable dancer. Her feeling for romantic style was perfect for Giselle. She was coached by Marina Semyonova.

Repertoire includes:
Giselle (Giselle), Cinderella (Cinderella), Juliet (Romeo and Juliet), Muse (Paganini), Katerina and the Mistress of the Copper Mountain (The Stone Flower), Phrygia (Spartacus), Girl (Spectre de la Rose), Anna Karenina (Anna Karenina).

People's Artist of the USSR.



Svetlana Adyrkhayeva was born in Khumalg in Northern Ossetia, Russia, in 1938. She graduated from the Leningrad Choreographic School (now the Russian Ballet Academy, named Vaganova) in 1955. Her teachers were Varvara Mei and Elena Shiripina. In 1955-58 she danced with the State Academy Theatre in Chelyabinsk, and 1958-60 in Odessa.

In 1960 she was invited to join the Bolshoi Ballet in Moscow. She was soloist with them until 1988. She danced leading roles. She was particularly succesful in dramatically demanding roles. Her best roles were Mekhmene Banu (Legend of Love) and Aegina (Spartacus).

In 1980 she took a Balletmaster exam at the State Institute for Theatrical Art, where she she also teached from 1978-81. In 1995-2001 she teached classical dance Choreographic Academy at New University for Humanities, named Natalia Nesterova.

Since 2001 she works as Balletmaster-Repetiteur at the Bolshoi Theatre. She rehearses Anna Antonicheva, Anastaia Yatsenko, Anna Leonova, Ekaterina Krysanova, Julia Grebenshchikova, Olga Stebletsova, Anastasia Stashkevich and Irina Yatsenko.


BIOGRAPHY - (1871-1962)

Olga Preobrajenska (Preobrazhenskaya) was born in St Petersburg in 1871. She studied at the Imperial Ballet School from 1879. Her teachers included Petipa, Ivanov and Anna Johansson, and later Cecchetti and Beretta. She graduated in 1889 to join the Mariinsky Theatre. She was promoted to soloist in 1896 and to prima ballerina in 1900. Danced all the leading roles at the Mariinsky. Her best roles were in Coppelia, Raymonda, Sleeping Beauty, La Fille mal gardée and Don Quixote. She created roles in Bluebeard (Petipa 1896), Harlequinade (Petipa 1900), Le Saisons (Petipa 1900), Sylvia (Ivanov and Gerdt 1901), The Fairy Doll (N. and S. Legat 1903), The Night of Terpsichore (Fokine 1908) and Chopiniana (Fokine, second version 1908). In 1895 she began to make guest appearances in Paris, London and America among others. She was short and stocky but very charming on stage and admired for her strong, precise technique. In 1914 she began teaching in St Petersburg, where her pupils included Danilova and Vaganova. In 1921 she left the Soviet Union to teach in Milan, London, Buenos Aires and Berlin, before finally settling in Paris in 1923. For 40 years she was one of the most famous teachers in Paris. Her students, in her studio at the Salle Wacker, included Baronova, Toumanova and Youskevitch. She retired in 1960.

20 mayo 2010



Olga Chenchikova was born in Elektrostal near Moscow in 1956. She studied in Perm (pupil of L. Sakharova) and danced with the Perm Theatre Ballet from 1974-77. Joined the Mariinsky Ballet in 1977. She danced all the classical roles. After an injury she retired in 1996 and is now teaching at the Mariinsky with pupils like Diana Vishneva, Maya Dumchenko and Sofia Gumerova.

Silver Medal at the Moscow International Ballet Competition 1973.
People's Artist of the USSR 1983



Olga Stebletsova was born in Moscow. After graduation from the Moscow Academic Choreography School (class of Tatyana Galtseva) she was admitted to the ballet company of the Bolshoi Theatre in 2001. She rehearses with Svetlana Adyrkhaeva.

KAIE KORB . Biography


Kaie Körb, prima ballerina of the Estonian National Opera, graduated from the Tallinn Choreography School in 1980 (Ilse Adusson and Tiiu Randviir class). In the same year she became a soloist at the Estonian National Opera. In 1985 she won the third place prize at the Moscow V International Ballet Competition. She has toured with Maya Plisetskaya and Vjacheslav Gordejev ballet troupe in Spain, Italy, Germany and United Emirates. With Vladimir Vasiliev troupe she has toured the United States of America, Mexico, France. With Berlin Stadt Oper ballet troupe she has toured in Japan. In addition to this she has performed in Philippines, Argentina, Sweden, Denmark, Central America, Portugal, Poland and on several stages of Russia.

Repertoire includes:
Cinderella (Cinderella), Carmen (Carmen), Odette/Odile (Swan Lake), Soloist (Pas de quatre), Firebird (Firebird), Raymonda (Raymonda), Cleopatra (Antonio and Cleopatra), Giselle (Giselle), Prostitute (The Miraculous Mandarin), Julie (Miss Julie), Juliet (Romeo and Juliet), Candelas (El amor brujo), Aurora (Sleeping Beauty), Renata (Fire Angel), Anna (Anna Karenina).

17 mayo 2010



Nina Sorokina was born in Moscow in 1942. After graduation from Moscow Choreographic School she was accepted to the Bolshoi Ballet as soloist. She was succesful both in contemporary and classical roles. Married to and frequent partner of Yuri Vladimirov.

Repertoire includes:
Sleeping Beauty, Giselle, Don Quixote, Flames of Paris, Icarus, Spartacus.

Gold Medal at Varna 1966.
Gold Medal at the First International Ballet Competition Moscow 1969.
People's Artist of the USSR.


Ninel Kurgapkina was born in Leningrad in 1929. Kurgapkina was one of the last pupils of Agrippina Vaganova. She graduated and joined the Kirov Ballet in 1947. Her repertory includes Aurora (Sleeping Beauty), Myrtha (Giselle), Odette-Odile (Swan Lake), Kitri (Don Quixote) and Parasha (Bronze Horseman). She was appointed a Director of the Vaganova School in 1972. Among her pupils are Olga Chenchikova, Uliana Lopatkina, Irma Nioradze, Zhanna Ayupova, and Anna Polikarpova.

Honoured Artist of Russia.



Born in Gunma in central Japan,
Kaori Nakamura was trained at the Reiko Yamamoto Ballet Company and at the School of American Ballet, she is currently dancing with Pacific Northwest Ballet, as a Principal dancer. Prior to moving to the States, Kaori was a Principal dancer with Canada's Royal Winnipeg Ballet.
In 1986, Kaori won the 14th Prix de Lausanne Competition,
and in 1988 received a Bronze medal at the International Ballet Competition in Varna, Bulgaria.

Her Repertoire includes lead roles in The Sleeping Beauty, Don Quixote, Swan Lake, Giselle, Cinderella, Coppelia ;
as well as Balanchine's Ballet Imperial, Theme & Variations, Ballo Della Regina, Square Dance, Tarantella, Tchaikovsky pas de deux ; and works by Ashton, Caniparoli, Feld, Fokine, Joffrey, Kilian,Martins, Massine, O'Day, Petipa, Tudor, Tharp, Van Manen...

Kaori has also appeared with 'Dancers for Life', Ballet Jorgen in Toronto, and with numerous galas in Europe, Japan, Hong-Kong and Australia.


BIOGRAPHY - (1898 - 2001)

Ninette de Valois was born in County Wicklow, Ireland, in 1898. Her original name was Edris Stannus. She studied under Espinosa, Legat and Cecchetti. After her career as a soloist in Diaghilev's Ballets Russes 1923-26 she founded her own school in London, the Academy of Choreographic Art. With dancers from the school de Valois established the Vic-Wells Ballet in 1931 (later the Sadler's Wells Ballet and the Royal Ballet ), which she directed for more than three decades (1931-63). She also founded a sister company, which became the Birmingham Royal Ballet. She was a noted choreographer as well, her best works are Job (1931), The Rake's Progress (1935), and Checkmate (1937). De Valois did much to increase the prestige of ballet in England, and in 1951 she was made a Dame of the British Empire. She retired in 1964 and was named Life Governor of the Royal Ballet. She wrote Invitation to the Ballet (1937) and Come Dance with Me (1957).

15 mayo 2010

YUMI AIZAWA - Biography


Par ailleurs, ce Roméo et Juliette aura aussi été l'occasion pour Charles Jude de révéler au public une nouvelle soliste, Yumi Aizawa, promue à l'issue de la représentation du 3 avril 2009.

Née à Nagano au Japon, Yumi Aizawa se forme à l’Académie de Ballet Hakucho jusqu’en 2001. Elle entre alors à l’école du Ballet de Hambourg sous la direction de John Neumeier. Elle danse dans Le Lac des cygnes, La Belle au bois dormant, Magnificat, Casse-noisette, Haiku et Yondering (chor. John Neumeier), Napoli (Pas de six, chor. August Bournonville), Thème et Variations (chor. Kevin Haigen). En 2004, elle intègre le corps de Ballet de l’Opéra de Dresde sous la direction de Vladimir Derevianko. Elle y danse notamment l'Oiseau de feu, Chopiniana et Petrouchka (Fokine), Casse-noisette (Neumeier), ainsi que Don Quichotte et Giselle.

Depuis 2006, elle est membre du Corps de ballet de l’Opéra National de Bordeaux sous la direction de Charles Jude. Elle interprète Les Sylphides (Fokine), aussi bien que Casse-noisette, Don Quichotte et Giselle (Charles Jude). Elle danse également dans Noces (Bronislawa Nijinska) et Le Sacre du printemps de Léonide Massine en 2007. Dans le programme Quatre Tendances, en novembre 2008, elle interprète les chorégraphies Valse(s) de Thierry Malandain (création) et Click-Pause-Silence de Jirí Kylián (informations : service de presse du Ballet National de Bordeaux).



Nathalie Krassovska (Leslie) was born in Lennigrad in 1919. Her mother was a dancer with Diaghilev's Ballets Russes and her grandmother was a soloist with the Bolshoi Ballet. She studied with Olga Preobrajenska in Paris and Legat in London. She danced with Nijinska's Co. in Paris 1932, with Balanchine's Les Ballets 1933 and with Serge Lifar in South America 1934. She then danced with the Ballet Russe de Monte Carlo 1936-1950 and with the London Festival Ballet 1950-1955. She danced most of the classic ballerina roles. After her dancing career she settled in Dallas and worked as a ballet teacher.

13 mayo 2010



Nathalie Nordquist was born in Stockholm, Sweden. She studied with the Royal Swedish Ballet School before joining the Royal Swedish Ballet in 1998. She was appointed soloist in 2001 and principal 2005. She has guest danced as Lise in La fille mal gardée (Frederick Ashton) with the Australian Ballet in 2004. She can be seen on DVD as Odette/Odile in Swan Lake with Royal Swedish Ballet.

Repertoire includes:
Aurora in Sleeping Beauty, Hermia in Neumeier's A Midsummer Nights Dream, Odette/Odile in Swan Lake, title role in MacMillan's Manon, Maria in Preljocaj's Annonciation, Peasant Pas de deux in Giselle, Kajsa in Cullberg's The Rein Deer, Phrosine in Cramér/Skeeping's Dans-Vurmen, Olga in Cranko's Onegin, Gamzatti in La Bayadère, and other roles in ballets by Twyla Tharp, Merce Cunningham, William Forsythe, John Neumeier, George Balanchine, Frederick Ashton, Krzysztof Pastor and Jiri Kylian.

12 mayo 2010



Natalia Bessmertnova was born in Moscow 1941. Graduated from Moscow Choreographic School 1962 in the class of Sofia Golovkina. Her fragile waif-like beauty and inner mystery reminds that of Olga Spessivtzeva's. Just like Spessivtzeva she made the perfect Giselle. Coached by Marina Semyonova in the first Bolshoi years. Married to Yuri Grigorovich. Bessmertnova died in Moscow on 19 February 2008.

Repertoire includes: Giselle (Giselle), The Sleeping Beauty (Aurora), Swan Lake (Odette-Odile), Raymonda (Raymonda), Don Quixote (Kitri), Romeo and Juliet (Juliet), Chopiniana, The Legend of Love (Shyrin), Spartacus (Phrygia), Ivan the Terrible (Tsarina Anastasia).

Gold Medal in Varna 1965
People's Artist of the USSR


What people says about Natalia Bessmertnova:

"Bessmertnova's art has absorbed Spessivtzeva's romanticism, Pavlova's musical expressiveness, the broad dancing of Semenova and Ulanova's lyricism. It has developed at the junction of different traditions but in the mainstream of a school of dance common to all of them. It has accumulated the experience of different generations and has been influenced by the distinctive Moscow school of dance, prone to heroic exaltation with a vivid dramatic element. Bessmertnova's art is the culmination of the twentieth century, and can be traced back to the romantic ballets of Taglioni and Grisi. Her danding stands out in salient relief, even against the background of her celebrated predecessors, for its individuality and originality, consonant with the public sentiments and moods of the time."

Alexander Demidov, in his book Natalia Bessmertnova - A Bolshoi Ballerina, 1986

"Bessmertnova's stage image, especially in Romantic arabesques or jetés, strikingly recalls Olga Spessivtzeva's: the same 'Persian' face and suffering dark eyes, smiling, if at all, with a hint of tears. Her ideally longlined body seems frail; her strong yet slender and unmuscular legs, well-developed ankles, and marvelously shaped feet with moderately etched insteps afford her both soaring jumps and sharp, dynamic turns. But Bessmertnova's most amazing characteristic is her thin arms, long out of all proportion. They soar upward and bend at the wrists like long stems that have broken at place where they bear the flower, imparting a nuance of vulnerability and feminine submissivness to her dancing."

"Two qualities rarely found together are combined in her dancing: ligthness and a legato flow of movements. During the 1960s her technique surpassed that of Natalia Makarova, her Leningrad rival, although like Olga Spessivtzeva's her style was remarkably aloof and dreamly detached, as if she were engaged in an invisible interior struggle. Her appeal stemmed precisely from her seemingly 'doomed' fraily, yet her plasticity differed from Spessivtzeva's in its erotically tinged Orientalism, its sensual langour, subdued and enticing. This quality somehow softened her aloofness and singled her out as a most seductive and appealing ballerina among her tempestuous Russian colleagues."

Gennady Smakov, in his book Great Russian Dancers, 1984

"The beauty of Natalia Bessmertnova's plasticity of line and musicality combined with her poise and serenity give her great distinction. This supreme artist brings to her many roles the elegance of the Bolshoi Ballet's classical style in its most excalted traditions."

Alexander Grant, The Royal Ballet

"Natalia Bessmertnova is an outstanding ballerina with the greatest talent a dancer can have. Technique, grace, musicality, beautiful lines and a warm, lovely personality. Her performances are already a legend in the world. A great leading star of the Bolshoi Ballet."

Gunilla Roempke, Royal Swedish Ballet

"Natalia Bessmertnova brings her special sensitivity to her dancing and we have all been enriched for it. Her romantic, lyrical Giselle and her spitfire Kitri in Don Quixote have illuminated the roles and shown us her true range as an artist. She and the Yuri Grigorovich choreography have been a perfect match, delighting audiences around the world."

Robert Joffrey, The Joffrey Ballet

"On the first night of the season it was obvious that among the three leading swans in Swan Lake there was a performer of unique quality, and througout the season our eyes have been drawn to the slender Natalia Bessmertnova by virtue of her extraordinary grace. I have never before felt so surerly that I was watching greatness in a dancer; Miss Bessmertnova has a magical quality that singles her out from every other performer, a mixture of intensity of feeling and effortless projection of dance ideas. Dark-haired, huge-eyed, with long limbs and a supple torso, she is a perfect dance instrument . . . She is obviously born to dance Giselle and to assume the great classic roles and revivify them with her magnificent gifts."

Clement Crisp of the Financial Times on Bolshoi's visit to Covent Garden in 1963

"Natalia Bessmertnova is one of those highly gifted people with whom working in the arts is a simply incomparable pleasure. Even when she was still very young, a student a the Ballet School in the class of Sofia Golovkina, she attracted our attention with the unusual delicacy of her dancing, her inspired sense of motion and the glow that emanated from each of her movements."

Leonid Lavrosky 1963

" . . . she has an inner, spiritual strength that can cut her off from all that is venal, shallow and mean and bring to her the tragic intensity of life that she expresses on the stage. She is already capable of dancing as she herself wants to, as her feelings dictate. This means that this delicate and ingenuous girl is already a fully-fledged individual. Bessmertnova has her own unique way of moving and her own inner world."

Boris Lvov-Anokhin 1963

08 mayo 2010



Monica Perego began dancing at the age of seven at Immagine Danza in Milan, Italy. In 1990 she won first price at the Benetton Dance Competition, which was a scholarship to the Royal Ballet School. A year later she was offered her first contract with Birmingham Royal Ballet and in 1992 Monica joined English National Ballet, where she was appointed Principal Dancer in 1997. In 2002 she became freelance, since then she danced as guest star with K-Ballet, Royal Swedish Ballet, Tokyo City Ballet, Shanghai Ballet, Balletto di Roma and Balletto di Puglia.

Her repertoire includes most of the major roles in the classical repertoire (Swan Lake, The Nutcracker, Giselle, Romeo & Juliet, Sleeping Beauty, etc) and many choreographers have created roles for her in new productions. She is also a frequent partecipant of ballet Galas all over the world.

Leonide Massine Award in Positano for Best Classical Dancer 1999.
La Ginestra D’oro Award for International Dancer 2003.



Nadezhda Pavlova was born in Cheboksary in 1956. She studied at the Perm Ballet School and before her graduation she won Grand Prix in the Second International Ballet Competition in Moscow 1973. She danced in Perm 1974-75 and joined Bolshoi Ballet as soloist in 1975. She made her Bolshoi debut in Giselle partnering V. Gordeyev, whom she also married the very same day.

Repertoire includes:
Coppelia, Nutcracker, Giselle, Don Quixote, Romeo and Juliet.

People's artist of the USSR 1984.



Nadezhda Gracheva was born in Semipolatinsk (Kasakhstan) in 1969 . She studied first at the Alma-Ata Choreography School from 1978-84. In 1984 she began at the Moscow Academic Choreography School, training under Sofia Golovkina. She graduated in 1987 and joined the Bolshoi Theatre. She was first coached by Galina Ulanova, who prepared most of her repertoire, and now by Marina Kondratieva. She dances all the leading in the classical reportoire and also created the leading parts in many premieres of contemporary choreographers. Thanks to her unique talent and superb technique, she immediately became the company’s leading dancer, and following her brilliant debut as Nikiya in the Bolshoi’s new production of La Bayadere in 1991, she was recognised as the company’s prima ballerina.

Repertoire includes:
La Bayadere (Nikiya), Don Quixote (Kitri), Giselle (Giselle and Myrtha), Le Corsaire (Medora), La Sylphide (Sylph), The Nutcracker (Masha),Sleeping Beauty (Aurora), Swan Lake (Odette-Odile), Stone Flower (Mistress of Copper Mountain), Legend of Love (Mekhemene Banu), Spartacus (Aegina), Paquita (Paquita), La Fille Mal Gardee (Lise), The Last Tango (Jeanne), Symphony in C (1st Movement) (the soloist), La Fille du Pharaon (Aspicia).

Silver Medal at the Varna International Ballet Competition 1986 and 1988 (junior category).
Gold Medal at the Moscow International Ballet Competition 1988 (junior category).
International Ballet Prize Benois de la Dance 1992.
Gold Medal at the International Ballet Competition in Japan 1995.
People's Artist of Russia 1996.
Received the State Prize of Russia 1997.

LOIPA ARAUJO - Biography


El Ballet Nacional de Cuba homenajeó a una de sus más celebradas bailarinas y maestras de ballet. Ovacionada, la alumna de Alberto, Fernando y Alicia Alonso, subió a escena y dio una clase magistral de danza.

"…la exótica Loipa, con sus brazos que hacen música y sus inteligentes pies…", así definió a la bailarina el conocido crítico inglés Arnold Haskell, cuando un día de junio de 1967 bautizó con el calificativo de Las cuatro joyas cubanas a Aurora Bosch, Mirta Plá, Josefina Méndez y Loipa Araújo. El artículo salió publicado en el diario nacional Granma, y por entonces, las cuatro eran jóvenes primeras bailarinas del Ballet Nacional de Cuba (BNC).

Araújo, que acaba de festejar sus 50 años con la danza, es una de las personalidades cubanas más internacionalmente conocidas, se caracteriza por la asimilación coherente de inteligencia, elegancia, expresividad, sentido del estilo y madurez artística. La crítica internacional especializada, en el transcurso de su medio siglo de carrera como bailarina profesional destacó de sus prestaciones escénicas el hecho de estar en presencia de una figura estelar.

Fundamentalmente con grandes dotes para los personajes de fuerte proyección dramática –dijo de ella la excelsa bailarina rusa Natalia Dudinskaia en 1969–, porque baila con fuerza y belleza, cualidades que raramente se encuentran de modo simultáneo en un talento". Por su parte, el crítico inglés Clement Crisp, en 1977, señaló: "…Hizo palpitar mi corazón y despertó mi admiración con su magnífica Swanilda, toda gracia y bellamente ejecutada…El gran estilo de la Araújo, su virtuosismo y el perfecto encanto de su baile son cosas irresistibles…".

Después de abandonar "silenciosamente" la escena, esta "joya" hizo su transición profesional, con éxito, hacia el campo de la docencia. Su objetivo esencial: compartir el legado de su arte con las nuevas generaciones de bailarines de su isla caribeña y de otras plazas importantes de ballet en el mundo. En tanto que profesora, "ballet mistress", guía y ejemplo, Araújo es heredera de las enseñanzas de sus primeros grandes maestros: Fernando, Alicia y Alberto Alonso.

"El vínculo entre el educador y el discípulo en ese proceso de búsqueda de la perfección como lo aprendí de Alicia y Fernando (Alonso) –aseguró Araújo, en la víspera del homenaje–. El BNC es la única compañía en el mundo que mantiene vivas a todas sus generaciones y, por tanto, el intercambio de valores transcurre de forma directa, sin necesidad de recurrir a los vídeos u otros recursos de la técnica contemporánea".

Asidua maestra de ballet del Ballet Alla Scala de Milán, su agenda está cubierta. En España trabajará como profesora invitada de los cursos en la Cátedra "Alicia Alonso" en El Escorial de Madrid. Después, Londres, donde impartirá clases sobre diversas técnicas en el Royal Ballet. Y en el verano de 2006 irá como profesora invitada del Teatro Bolshoi de Moscú.

Una función para Loipa

El coreógrafo Iván Tenorio, convertido en director artístico de esta función de gala con la asistencia de la ex primera bailarina Svetlana Ballester, concibió un pertinente y original programa.

Como preámbulo a la danza misma, el narrador y director de la Academia Cubana de la Lengua, Lisandro Otero, tuvo la responsabilidad del discurso biográfico de elogio a la festejada de la noche. Concluidos los formalismos y protocolos, con flores, trofeos y condecoraciones, se abrieron las cortinas para dar paso a los jóvenes bailarines que encarnaron aquí los personajes de los ballets que marcaron los grandes éxitos de su carrera.

El evento bailable se inició con el pas de deux y coda del Hada Garapiñada del "Cascanueces"´, con una espléndida y aplaudida ejecución por parte de Anette Delgado (cuidadosa en los detalles y en la precisión de los pasos), cortésmente apoyada por el bailarín principal Javier Torres. Le siguió una Swanilda de "Coppelia"´ jovial y plena de frescura por Yolanda Correa, secundada por un robusto y solícito Octavio Martín como su enamorado Franz. Inmediatamente, llegó la Francia de los Luises con el pas de deux y coda del tercer acto de "La Bella durmiente del bosque", para aplaudir una brillante entrega de la coreografía de Petipa por la estrella ascendente Sadaise Arencibia, junto al principesco soporte del elegante Miguel Ángel Blanco.

Concluyó la primera parte del programa con el grand pas del Festival de las Flores en Genzano, de Bournonville. La pareja que forman la experimentada Viengsay Valdés (Rosa) y el joven bisoño Rómel Frómeta (Paolo), ambos en los rangos superiores del BNC, trataron de elaborar un acercamiento mayor a la escuela danesa de ballet, principalmente al estilo de su coreógrafo, August Bournonville. Valdés y Frómeta se empeñaron en el desarrollo de sus ejecuciones: baterías altas y rápidas con sus pies, saltos altos y viajados, definidos los cambios de direcciones de sus "epaulements" y del port-de-tete, pero la importancia de la interpretación quedó difuminada. En general, los logros se aprecian, aunque el cuerpo de baile quedó por debajo de sus acostumbrados brillantes desempeños. Esto sucede cuando estas obras están ausentes largo tiempo en el repertorio activo de la compañía, y un "coach" experto venido del extranjero no ha sido contratado en décadas a revisar las versiones presentadas. Pero más allá de todo profundo análisis crítico, allí se disfruta el arte del danés mediante la gracia y el nivel de la escuela cubana de ballet.

La originalidad de esta "gala" –que merece entrecomillarse porque el glamour inherente a estos eventos sigue ausente, como lo estuvo el acompañamiento orquestal en vivo– consistió en situar a la festejada en su personaje más vigente: el de la rigurosa maestra de alto calibre.

Allí estaba en su elegante pose toda de negro, en medio de un escenario despojado de todo decorado, sólo telones negros y luces inteligentes que conjugaban con el piano de concierto a un lado, hasta que irrumpieron los bailarines portando las barras dispuestos y arrogantes para recibir la clase de esta especial "ballet mistress". Las ovaciones llegaron al delirio del desbordado coliseo habanero.

En el programa de mano, esta sección de la gala fue denominada "Imagen de una imagen", pues la laureada bailarina, apoyada por las partituras de Schubert, Schumann, Chopin, Paganini, Strauss, Beethoven, Tchaikovsky, Piazzola, Adam, Drigo, hizo un viaje por su memoria de la mano de los personajes que le fueron más caros. Y allí estuvo, "bailando" o marcando los pasos desde la sección de barra hasta llegar a la sección del centro.

En el gran final, Araújo se vio arropada por todo el BNC, haciéndoles más llevadera las emociones de tener a los balletómanos cubanos a sus pies.

Retrato de Loipa Araújo
(Cortesía del Ballet Nacional de Cuba. Historiador Miguel Cabrera)

La cubana Loipa Araújo constituye en la actualidad, en su doble condición de bailarina y "ballet mistress", una de las más relevantes personalidades de la escuela cubana de ballet y de la cultura de su país.

A los 15 años inició sus estudios en la Escuela de ballet de la Sociedad Pro-Arte Musical de La Habana, bajo la dirección de Alberto Alonso y León Fokine. Luego continuó en la Academia de Ballet Alicia Alonso, con Alicia y Fernando Alonso, Léon Fokine, José Parés y otros destacados profesores.

Ya en 1955 inició su carrera profesional al ingresar en el elenco del Ballet Nacional de Cuba, con el que realizó actuaciones en los más importantes teatros y ciudades de América, Europa y Asia. Su repertorio, como primera bailarina, incluyó los roles protagonistas de la gran tradición romántico-clásica de los siglos precedentes, así como en obras contemporáneas de coreógrafos cubanos y extranjeros.

Artista Invitada:

1957 – Ballet Celeste, San Francisco
1957 – 59 – Teatro Griego de Los Angeles, Estados Unidos.
Ballet del Teatro de la Opera y Ballet de Sofia y Stara Zagora, Bulgaria
1970-76-81 – Ballets de Marsella (Roland Petit), Francia
1973 – Ballet de la Opera de Odessa y Kiev
1975 – Ballet Bolshoi de Moscú y el Real Ballet Danés
1976 – Ballet del Teatro de Bellas Artes, México, DF.
1977 – Teatro Maligot, de Leningrado, Unión Soviética, Ópera de Niza, Francia, Ballet Internacional de Caracas, Venezuela, Festival internacional de Ballet de Lausanne, Suiza
1979 – Festival Mundial del Japón
1989 – Ballet Béjart de Lausanne, Suiza
1990 – Festival internacional de Música y Danza de Palma de Mallorca, España
1991 – Festival de Edimburgo, Gran Bretaña
1992 – Festival de las Artes de Melbourne, Australia
Profesora invitada:

1973 – 76 y 1981 – Los Ballets de Marsella, de Roland Petit. Francia
1976 – Ballet de Bellas Artes, México, DF.
1977 – Ópera de Marsella, Francia
1988 – Cátedra de las Américas. España
1988 – 89 – Ballet de la Ópera de Avignon, Francia
1988 – 89 – Béjart Ballet Lausanne, Suiza
1990 – 91 – 92 – Ballet de la Ópera de Roma, Italia
1992 – 93 – 94 –Ballet del Gran Teatro de Burdeos, Francia
1993 – 94- 95 - 96 – 97 – 2000 y 2003 – Teatro alla Scala de Milán, Italia
1997 – 98 – Teatro Colón de Buenos Aires, Argentina
1998 – 2004 – Ballet del Teatro de la Ópera de París, Francia
2000 – Ballet de Washington, Estados Unidos
2001 – 2002 – Teatro Maggio Musicale Florentino, Italia
2001 – Teatro Communale di Firenze, Italia
2001 – 2002 – 2003 y 2004 – Asociación de Arte y Cultura de Buenos Aires, Argentina
2001 – 2005 – Royal Ballet de Londres, Gran Bretaña
2003 – Teatro San Carlo, de Nápoles, Italia
2003 – Ballet del Teatro Muncipal de Santiago de Chile, Chile
Sus premios:

1990 Medalla del Consejo Brasileño de la Danza
1998 Orden "Félix Varela" de primer grado. Consejo de Estado de Cuba
2000 Doctorado Honoris Causa en Arte, Instituto Superior de Arte de Cuba
2003 Premio Nacional de Danza, ortigado por el Consejo Nacional de las Artes Escénicas del Ministerio cubano de Cultura y la Unión de Escritores y Artistas de Cuba (UNEAC)
Loipa-Maestra de ballet

Una faceta de suma importancia constituye su labor pedagógica, la que ha desarrollado de manera simultánea a su desempeño como intérprete.

1987 – profesor titular adjunto de la Facultad de Arte Danzario del Instituto Superior de Arte de Cuba (I.S.A.)
1996 – profesora invitada del Curso Internacional de Danza auspiciado por la Cátedra de Danza "Alicia Alonso" de la Universidad Complutense de Madrid
2000 – Doctor Honoris Causa del ISA
2000 – 2005 Profesora del Curso de verano del Escorial. Instituto Superior de Danza Alicia Alonso. Universidad Rey Juan Carlos I, España'

2004 – Jurado del Concurso Internacional de Ballet de Varna, Bulgaria
2005 – Jurado del Concurso de Ballet de Jackson, Mississippi. Estados Unidos
Miembro del jurado de ingreso al Ballet de la Ópera de París, miembro de la Comisión examinadora de la escuela de ballet del Ballet de la Ópera de París, jurado del Premio Benois de la Danza y ha sido, también, presidenta de la Asociación de Artistas Escénicos de la UNEAC

METTE IDA KIRK - Biography


Mette-Ida Kirk was born in Denmark in 1955. She studied at the Ballet School of the Royal Theatre and joined the Royal Danish Ballet. She was only 19 years old when John Neumeier in 1974 chose her to dance Juliet in his Romeo and Juliet. Promoted to principal dancer in 1979. Unfortunately her career was plagued by injuries and she went through many operations.

Some of her most important roles were in Concerto Barocco 1981, Kermesse in Brugges 1979, Agon 1988, A Midsummer Nights Dream 1990, Mahlers 5th Symphony 1994, Serait-ce la Mort 1990, A Folk Tale 1979 and La Sylphide 1986.



Mette Hønningen was born in Copenhagen, Denmark, in 1944. She entered the Ballet School of the Royal Theatre in 1956. She joined the Royal Danish Ballet, was promoted to soloist in 1967 and to principal in 1976. She developed her strong technique under Vera Volkova and covered a broad repertory. Made her debut in 1964 as the pupil in Flindt's The Lesson with Henning Kronstam. She also got known for the title role in the Disney film Ballerina in 1966.

Repertoire includes:
Aili in Moon Reindeer and Carmen (1965), La Sylphide (1976), Tetley's Pierrot Lunaire (1968), Greening (1978), Voluntaires (1978) and Firebird (1981), Alvin Ailey's Memoria (1981), Caverna Magica (1986 and Witness (created specially for her in 1986), Sugarplum Fairy in Nutcracker (1971), Lady Capulet in Romeo and Juliet (1974), Odette/Odile in Swan Lake (1975), Hippolyta/Titania in A Midsummer Nights Dream (1980), Balanchine's Symphony in C (1973), Four Temperaments (1977) and Serenade (1978), and Ballerina in Lander's Etudes.



Veronika Ivanova was born in Leningrad. She graduated from the Vaganova Academy (class of Prof Natalya Dudinskaya). Joined the Mariinsky Theatre in 1985 and became Principal in 1991.

Repertoire includes:
La Sylphide (Sylphide), The Sleeping Beauty (Aurora, Princesse Florine, Fee Candide), The Nutcracker (The Doll/ Pas de Trois/ Masha), Giselle (Giselle), The Legend of Love (Shirin), Raimonda (variations, I act), Swan Lake (Pas de Trois), La Bayadere (Pas de Trois), Le Corsaire (Gulnarah), The Fountain of Bakhchisarai (Maria), Grand Pas "Paquita" (variation, Pas de Trois), Chopiniana, Romeo and Juliet (Juliet), Scotland Symphony, Symphony in C, Le baiser de la fee (Bride), Anna Karenina (Kitty).



Tatiana Golikova was born in Viborg in 1945. She studied at the Moscow Bolshoi School (class of S. Messerer). Joined the Bolshoi Ballet in 1965 and danced with them until 1988. Coached by Marina Semyonova.

Repertoire includes:
Liuska (Golden Age), Mekhmene Banu (Legend of Love), Sylphide (Chopiniana), Aegina (Spartacus), Odette-Odile (Swan Lake), Kitri (Don Quixote), Henrietta (Raymonda).

People's Artist of the RSFSR in 1984



Nadja Saidakova was born in Ischäwsk, Russia. She studied at State Ballet Academy in Perm. She danced with the Moscow Classical Ballet before she in 1991 joined the Deutschen Oper am Rhein as a soloist. In 1995 she joined the Staatsoper Unter den Linden Berlin (now Staatsballet Berlin) as a principal.

Repertoire includes:
Odette/Odile in Swan Lake, Lise in La Fille mal gardée, Princess in Firebird, title role in Raymonda, Princess Aurora and Princess Florine in Sleeping Beauty, Kitri in Don Quixote, the girl in Le Spectre de la rose, title role in Gislle, Nikiya in La Bayadere, Tatiana in Onegin, title role in Manon and title role in Malakhov's Cinderella.

MONICA MASON - Biography


Monica Mason was born in Johannesburg, South Africa, 1941. She studied in South Africa and at the Royal Ballet School in London. Joined the Royal Ballet in 1958 and became principal in 1967. She was a dancer with exceptional strength and vitality.

MIRTA PLA - Biography

Born in Havana, Pla studied dance under Cuba's grand dame of ballet, Alicia Alonso. She joined several dance companies in the 1950s and toured the world as a professional performer. When she retired, Pla moved to Barcelona, Spain, to become a dance instructor.

Pla was awarded Cuba's National Dance Prize in 2003. She shared the honor with three other ballerinas -- Loipa Arajo, Aurora Bosh and Josefina Mendez; collectively, they were once known as "las cuatro joyas del Ballet Nacional de Cuba" (the four jewels of the National Ballet of Cuba).

Josefina Méndez, Mirta Plá, Loipa Araujo y María García.


Falleció en la ciudad de Barcelona, España, donde realizaba una intensa labor pedagógica, la bailarina y maitre Mirta Plá, conocida mundialmente como una de las "joyas" del ballet cubano, víctima de una penosa enfermedad.
Nacida en La Habana, el 23 de julio de 1940, realizó estudios de piano y ballet en el Conservatorio Municipal, hasta septiembre de 1950 en que obtuvo una beca en la Academia de Ballet Alicia Alonso, donde alcanzó una sólida formación artístico-técnica bajo la guía de nuestra eximia bailarina, así como de los maestros Fernando Alonso y José Parés, y con los aportes de otros destacados pedagogos, entre ellos los rusos Alexandra Fedorova y Leon Fokine, y las inglesas Mary Skeaping y Phillis Bedells.
Su debut profesional se produjo el 15 de marzo de 1953 - alumna aún de la Academia - en el "Vals de las Flores" del ballet Cascanueces, llevado a la escena del Teatro América por el Ballet Alicia Alonso. Un año después realizaría su primera gira internacional, por Argentina, Chile y Uruguay, con la tutoría de Alicia y Fernando Alonso, por su condición de menor de edad. Durante la etapa de enfrentamiento a los desmanes del batistato, que en 1956 retiró la escasa subvención que el Ballet de Cuba recibía del Estado, participó en la gira nacional de protesta y continuó su quehacer en la Academia y en el Teatro Experimental de Danza, organismos que mantuvieron viva la llama del ballet cubano en aquel difícil período.
A instancias de Alicia Alonso, entre 1957 y 1959 actuó junto a otras destacadas alumnas de la Academia, en el Ballet Celeste de San Francisco y en el Teatro Griego de Los Ángeles, con el fin de que no perdieran su entrenamiento.
En 1959 obtuvo el primer lugar y el rango de solista en las audiciones efectuadas para reorganizar el hoy Ballet Nacional de Cuba, conjunto con el cual realizó presentaciones en numerosos países de América, Europa, Asia y África. Como estrella invitada actuó también con el Ballet de Budapest, el Ballet Nuevo de Turín, y en otras compañías y festivales en México y Perú.
Aunque dueña de un amplísimo repertorio, que incluyó las obras más significativas de la gran tradición romántico-clásica del siglo XIX y de la creación coreográfica contemporánea, tanto de creadores cubanos como extranjeros, la Plá brilló de manera especial en los roles de "soubrette" y en aquellos como La fille mal gardée, Coppelia, el Grand pas de quatre y La bella durmiente, donde resaltaban su bella línea, su serenidad escénica, su antológica sonrisa y el dulce lirismo que emanaba de cada una de sus actuaciones. Su status de primera bailarina, el cual mantuvo durante tres décadas (1962-92), estuvo respaldado por una disciplinada entrega diaria a clases y ensayos, por el cumplimiento riguroso de las demandas técnico-artísticas de cada obra y, de manera particular, por su respeto al público, al que con humildad entregó lo mejor de su talento.
Su trabajo pedagógico fue altamente reconocido en el extranjero y estuvo vinculado a instituciones de muy alto prestigio, tanto en América como en Europa.
Por sus grandes valores artísticos se hizo acreedora de importantes galardones tanto en Cuba como en el extranjero: Medallas de Plata en el Concurso Internacional de Ballet de Varna (1964 y 1966), Premio Estrella de Oro y Premio Especial del Jurado en el Festival Internacional de Danza de París (1970); Distinción Por la Cultura Nacional (1981), Distinción Raúl Gómez García (1982), Medalla Fernando Ortiz, de la Academia de Ciencias de Cuba (1988); Premio Anual del Gran Teatro de La Habana (1992) y el Doctorado Honoris Causa en Arte Danzario, I.S.A.(2000). El pasado mes de abril recibió, en compañía de sus inseparables compañeras Loipa Araújo, Aurora Bosch y Josefina Méndez, un grandioso homenaje en ocasión de concedérseles el Premio Nacional de Danza 2003.
Me unió a ella una entrañable amistad por más de treinta años, tuve el honor de ordenar documentalmente toda su trayectoria artística, representar juntos a Cuba en eventos nacionales e internacionales, pero lo más inolvidable fue el haber compartido la hermosa tarea de llevar el arte del ballet a todos los sectores del pueblo cubano, desde los escenarios más insospechados, ya fuesen éstos un surco de tierra en el Plan Plátano de Artemisa, un improvisado tabloncillo en medio de los talleres de Cubana de Acero, una rústica tarima en la zona campesina de Cumanayagua o en los riesgosos enclaves de la Brigada de la Frontera en Guantánamo.
Su muerte llena de dolor al ballet mundial y para nuestra cultura nacional ello constituye la pérdida de una de las más refulgentes "joyas" que ha dado la escuela cubana de ballet. Sin embargo, ella misma supo dejarnos su propia definición de este triste momento, cuando en una íntima conversación me confesó: "Quiero que recuerden a Mirta Plá como una persona que ha amado mucho al ballet y que se siente orgullosa de ser cubana y de haber dado a conocer, en su Patria y en otros muchos lugares, un arte hermoso. Es una mujer tranquila y feliz porque, cuando dejó de bailar, gracias a la formación que le dieron sus maestros, pudo seguir siendo útil a la danza y a la cultura de su país".


BIOGRAPHY - (1926 - 2006)

Moira Shearer was born in Dunfermline, Scotland, in 1926. She joined Sadler's Wells Ballet in 1942. With SWB she danced The Quest, Symphonic Variations and Cinderella among others. She became most known for her title role in the beautiful film The Red Shoes in 1948 by Michael Powell and Emeric Pressburger. She left ballet in 1952, when she was only 27, to pursue a career as an actress.



Mette Bødtcher was born in 1965 and trained at the Ballet School of the Royal Theatre. In 1981 she became an apprentice, and in 1983 she was engaged as a dancer of corps de ballet at the Royal Danish Ballet. From 1986-90 she was engaged John Neumeier as a soloist at the Hamburg Ballet, before she returned to the Royal Danish Ballet in 1990.

Mette Bødtcher has danced a large number of soloist roles with the Royal Danish Ballet, including leadrole in Béjart's Bolero, as Ophelia in Neumeier's Hamlet, Penelope in Neumeier'sThe Odyssey, the title role in La Sylphide and Mette, Hannah Glawari in The Merry Widow, Rosita in Far from Denmark and Death in Serait-ce-la Mort, the Dark Angel in George Balanchine'Serenade and further danced in Kindertotenlieder, Witness and The Triumph of Death. Now later in her career she has danced Lady van Everdingen in Kermesse in Bruges, Muri in A Folk Tale and Madge in La Sylphide

06 mayo 2010



Rosella Hightower was born in 1920 in Ardmore, OK, USA. She studied with Dorothy Perkins in Kansas City. Danced with Ballet Russe de Monte Carlo 1938-41, American Ballet Theatre 1941-5, Massine's Ballet Russe Highlights Co. 1945-46, Original Ballet Russe 1945-46. In 1947 she joined the de Cuevas Ballet. As it's prima ballerina she toured the world and was one of the most popular dancers in Europe. She had an enormous repertory, including many creations for Taras, Bournonville's La Sylphide and Sleeping Beauty. She danced the Black Swan Pas de deux with Rudolf Nureyev in his London debut in 1961.

Since 1962 she has directed the Centre de Danse Classique in Cannes which attracts dancers from all over the world and where many of her famous collegues give guest classes.



Olga Likhovskaya was born in Orenburg in 1958. She studied at the Vaganova School in St. Petersburg (pupil of V. Stankevich and N. Bazarova). Graduated and joined the Mariinsky Ballet in 1976. Among her roles were Maria (Fountain of Bakhchisarai), Katerina (Stone Flower), Giselle, Sylphide (La Sylphide), Odette-Odile (Swan Lake), Natalia Nikolayevna (Pushkin), Princess Florine (Sleeping Beauty) and Anna (Anna Karenina).

Honored Artist of the USSR 1983


BIOGRAPHY - (1919 - 2005)

Nathalie Krassovska (Leslie) was born in Lennigrad in 1919. Her mother was a dancer with Diaghilev's Ballets Russes and her grandmother was a soloist with the Bolshoi Ballet. She studied with Olga Preobrajenska in Paris and Legat in London. She danced with Nijinska's Co. in Paris 1932, with Balanchine's Les Ballets 1933 and with Serge Lifar in South America 1934. She then danced with the Ballet Russe de Monte Carlo 1936-1950 and with the London Festival Ballet 1950-1955. She danced most of the classic ballerina roles. After her dancing career she settled in Dallas and worked as a ballet teacher.



Tanaquil Le Clercq was born in Paris 1929. She studied at the School of American Ballet. Principal dancer of the New York City Ballet. She was George Balanchine's fifth wife. In 1956 she became permanently paralyzed by polio while touring in Europe.

Repertoire includes:
The Four Temperaments, Symphonie Concertante, Symphony in C, Elegie, Bourrée Fantasque, Jones Beach, La Valse, Caracole, The Nutcracker, Divertimento No. 15 (all by Balanchine).

She died December 31, 2000, in New York City.



Myriam Ould-Braham was born in Paris in 1982. She began her ballet education in the City of Lights with Yvonne Goubé in 1993. After a year with the CNR, she was admitted to the Conservatoire Supérieur de Paris in 1995 and immediately the next year 1996, she was chosen to be a part of the L'ecole de Danse of the Paris Opera Ballet. Paris Opera engaged Myriam Ould-Braham as Corps of Ballet in the year 1999. As a Corps of Ballet, she performed in all of the most important classical and contemporary pieces of the company. In 2001 she was promoted to Coryphée and 2002 to Sujet. The year 2005 Myriam won the prestigious prize "Leonide Massine". She has performed in Paris Opera Tours and galas around the world, including China, Japan, Italy and Spain. She was promoted to Premiére Danseuse in 2006.

Repertoire includes:
Sleeping Beauty (Aurora and Blue Bird Variation), Giselle (Peasant pas de deux), Don Quixote (Kitri and Cupid), Chant de Rossignol (Variation), Bal de Cadets (principal role), Les deux Pigeon (Gourouli) and The Vertigeneous Thrills of Exactitude.



Monique Loudières was born in Choisy le Roi in 1956. She studied at the Paris Opéra Ballet School. Graduated into the Paris Opéra Ballet in 1972. Appointed étoile in 1982. An extremely versatile dancer who danced both the classical and modern reportoire. She officially retired in 1996. Since September 2001 she is the Artistic and Pedagogical Director of the Ecole Supérieure de Danse de Cannes created by Rosella Hightower.

French National Prize for Dance in 1993



Maria Eichwald was born in 1974 in Talgar, Kazakhstan. She studied at the Ballet Academy in Alma-Ata and joined the National Ballet of Kazakhstan. Here she danced the leading roles of Swan Lake and Nutcracker when was only 18 years old, and soon advanced to soloist. After the early death of her father Maria and her mother moved to Germany. She first danced two years in Mönchengladbach before she, in 1996, joined the Bavarian State Ballet. In Munich Ivan Liska promoted her to first soloist in 1999. She moved to Stuttgart Ballet in the beginning of 2004.

Repertoire includes:
Tatiana and Olga in Onegin, title roles in Lady of the Camelias, Manon, Romeo and Juliet, Giselle and Sleeping Beauty, Marie in The Nutcracker, Odette-Odile in Swan Lake, Nikiya in La Bayadere and Kitri in Don Quixote.

Nominated for Prix Benois 2002.

05 mayo 2010



Marcia Haydée was born in Brazil in 1939. She studied in Rio the Janeiro and then went to Sadler's Wells School. Later she studied with Egorova and Preobrajenska. Joined Grand Ballet du Marquis de Cuevas in 1957 and then moved to Stuttgart Ballet in 1961, where she was promoted prima ballerina in 1962. One of the great dance actresses of her generation. Created roles in many John Cranko ballets including Romeo and Juliet (1962), Onegin (1965), The Taming of the Shrew (1969), Carmen (1971) and Initials R.B.M.E. (1972). She also created roles in ballets by MacMillan, Tetley and Neumeier.

In 1976 she was appointed artistic director of Stuttgart Ballet. In 1993 she also took over direction of Santiago Ballet and finally retiring from both ballets in 1995.



Larissa Lezhnina was born in St Petersburg in 1969. She studied at the Vaganova School in St Petersburg from 1979 to 1987. Joined the Mariinsky Ballet in 1987 and was appointed soloist in 1990. She left the Mariinsky in 1994 to join Het Nationale Ballet (Dutch National Ballet) in the Netherlands.

Repertoire with Dutch National Ballet includes:
Cinderella (Ashton), Giselle (version by Wright), Nutcracker and Mouseking (Eagling and Van Schayk), Onegin (Cranko), Romeo and Juliet (Van Dantzig), The Sleeping Beauty (version by Wright), La Sylphide (version by Bjørn) and Swan Lake (version by Van Dantzig)



Irina Kolpakova was born in St Petersburg in 1933. She graduated 1951 from Agrippina Vaganova's last graduating class. With her exquisite perfect academic style she excelled in the classical repertoire and was Kirov's leading ballerina in the 1960's. She carried the Vaganova tradition to the coming generations teaching and coaching at the Vaganova School and the Mariinsky Ballet.

Joined the American Ballet Theatre as Ballet Mistress in 1990.

People's Artist of the USSR in 1960.

04 mayo 2010

ANETTE DELGADO GOMEZ - Ballet Nacional de Cuba

ANETTE DELGADO GOMEZ - Ballet Nacional de Cuba - Biografía


Inició sus estudios en la Escuela Provincial de Ballet «Alejo Carpentier», de Ciudad de La Habana, y los concluyó en la Escuela Nacional de Ballet, en 1996. Entre sus profesores figuran Ramona de Sáa, y Martha Iris Fernández. En su etapa como estudiante se hizo acreedora de importantes galardones en eventos de carácter competitivos, entre ellos Medalla de Oro y Premio a la Mejor Pareja en el Primer Concurso Internacional de Academias de Ballet, Medalla de Plata en el Concurso de la Unión de Escritores y Artistas de Cuba (1995), Medalla de Oro y Premio Especial a la Mejor Técnica y Trabajo Artístico de Estilo en el Segundo Concurso Internacional de Academias de Ballet y la Medalla de Plata y el Premio a la Mejor Pareja en el XVII Concurso Internacional de Ballet de Varna, Bulgaria. En calidad de estudiante participó en intercambios culturales en varias ciudades de México e Italia.

Desde su graduación pasó a formar parte del elenco del Ballet Nacional de Cuba, bajo la dirección técnica y artística de Alicia Alonso, compañía con la que ha actuado en numerosos países de América, Europa y Asia. Entre 1999 y 2001 integró las filas del Joven Ballet de Francia. Interpreta roles principales en obras de la gran tradición romántico-clásica y en creaciones contemporáneas de coreógrafos cubanos y extranjeros.
Por su ascendente desempeño artístico fue promovida al rango de Primera bailarina en abril de 2005.

Opiniones de la crítica.
«Entre los más jóvenes hay que destacar la Giselle de Anette Delgado, una bailarina de preciosa línea y capacidad para trasmitir emoción»
Julia Martin. El Mundo. España, 2002

«En el pas de deux de La bella durmiente del bosque una magnífica Anette Delgado que impresionó en su variación.»
Julio Bravo. ABC. España, 2002

«Un brillante pas de deux nos mostró a Anette Delgado (...) con un ritmo impecable y saltos asombrosos.»

Eliza Ingle. Post-Courier Reviewer. Estados Unidos, 2003

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